Casting a Concrete

Fireplace Surround
BY BUDDY RHODES

ately, Ive been getting a number of

requests for concrete fireplace surrounds, and of course, that makes
sense to me. Concrete is an exquisite
medium that can show the hand of the craftsman
like few other materials, and its as well suited for
a fireplace surround as it is for a countertop or a
decoratively stained floor. The finished installation can be a unique composition of shapes, textures, and colors that amplifies the impact of any
fireplace. The massive appearance of a concrete
surround is a major factor in its aesthetic appeal,
but this effect is created simply by stacking a
series of thin slabs together and securing them
to the wall (drawing p. 89). The process has five
stages: designing; mold-making; casting; finishing; and installing.
Draw the picture, and make a
template for the hearth

During the design stage, our resident artist, Jim

Scott, goes on site to design and make a fullscale drawing of the fireplace surround. Once he has the concept
on paper, Jim likes to transfer the drawing onto the
wall, which gives him the
opportunity to check the
scale and design in the
room. Sometimes we also
create a full-scale cardboard mock-up of the
surround so that we can
discuss details of the design
with the homeowner.
We make a template of the
hearth (and also occasionally of the
vertical surround) with 212-in.-wide strips
of 18-in. plywood tacked together with hot glue.
Using a template lets you follow every little curve
in the wall and ensure that the piece fits perfectly.
For the rest of the surround, we base the design
on the measurements taken on site. Except for
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FINE HOMEBUILDING

From mixes and molds to

finishes and installation details,
a master craftsman shows
how basic ingredients can
yield elegant results

THE PARTS ARE CAST

UPSIDE DOWN IN SIMPLE
MELAMINE MOLDS
The molds are made of strips of 34-in. melamine
ripped to a width equal to the depth of the slab
and screwed down to a large sheet of melamine.
Here, the molds are assembled around templates
made from strips of plywood tacked at the corners with hot-melt glue 1 . Used to attach concrete to the wall, 6-in.-long brick ties are marked
and notched into the top of the mold, then are
secured with a drywall screw 2 . Any exposed
end grain should be sealed with packing tape or
auto-body filler. To make disassembly easier,
a dab of modeling clay keeps the concrete out
of the screw heads 3 . Its a good idea to measure and cut the reinforcement before filling the
molds 4 . Allow 2 in. of space between the inside
mold perimeter and the reinforcement.

1
3

For slabs 3 in. thick or less, use one

of these reinforcements

Galvanized expanded mesh

6-in.-grid mesh

1 2-in.-grid

Photo left: David Duncan Livingston

hardware cloth

KEEP THIS MIX ON THE DRY SIDE

the hearth, molds are built from these detailed measurements and
drawings, not from the templates.
We always note any site information on the template or drawings.
Although concrete does not crack or become damaged from proximity
to heat, we never plan for it to extend into the opening of a masonry
firebox. Also during this stage, we decide how the surround will be
divided for casting and where the seams will lie. I try to design a slab
that wont exceed the size of a pickups bedabout 8 ft.and also try
to consider access to the job site, especially doorways and stairs. Here
in California, we also must consider the potential for earthquakes; a
2-in.-thick slab weighs about 20 lb. per sq. ft. The weight of the surround should bear vertically and be supported from underneath.
The last thing to note is the location of the framing in the fireplace wall.
We cast brick ties into the slabs to serve as hanger straps during installation, so the ties and the framing locations need to correspond.
Simple melamine molds are the negative of the cast

We make the molds from 34-in. melamine because it is inexpensive,

is readily available, gives the concrete a smooth finish, and releases
easily. Assembled around the template or laid out according to the
drawing, mold pieces are screwed on edge to a larger sheet. Corners
are fastened from the outside to keep the inside-mold face smooth.
Because this surround is cast upside down, labeling the various parts
helps to avoid confusion. If were using a template, we transfer all
written notes and information from the top of the template to the
bottom, then flip the template over and label up in mold.
If were building a mold for a project thats getting a hand-troweled
finish, we seal all mold joints with a latex-silicone caulk that keeps the
water in the mix from leaking out. Because the mix used for the
pressed finish that were doing here is fairly dry, though, theres no
need to seal the mold. Once the molds are completed, I double-check
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A pressed finish depends on a first layer composed of a relatively

dry mix. First, add a shovelful of portland cement per bag
of premixed concrete to give the mix a more claylike consistency. Combine any
coloring with about
11 2 gal. of water,
then gradually add
the mixture to the
dry ingredients 1 ,
stirring thoroughly
with a shovel or a
hoe 2 . If necessary,
add water sparingly
until the concrete
mix has the feel of
bread dough 3 . The
voids in the pressed
finish are created by
2
loosely packing the

dry mix a handful at a time into the mold, filling it halfway 4 .

At this stage, its important to pack the mixture firmly into the
corners and edges. Heavy gloves are a must to protect hands
from the caustic effects of concrete.

THE SECOND LAYER IS WETTER

After a second, wetter batch of concrete is mixed, the
reinforcement is set into the mold and is covered with the
looser mix. I like to use a broad putty knife as a squeegee
to force the concrete down into the wire 1 . When the
mold is full, the excess can be screeded off with a wooden
float 2 . A straight piece of lumber works, too. After the
slabs have dried overnight, the forms are stripped, and the
surround elements are placed on 2x4s 3 and allowed to
cure for at least two days. They should not be placed in
direct sunlight. Periodic misting with water from a plant
sprayer helps the concrete to reach its maximum strength.

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87

them to ensure that they match

the drawings and transfer them
to a level table.
Reinforcement keeps
concrete from cracking

Before we begin to mix the concrete, we prepare the reinforcing

material. The type of reinforcement used depends on the thickness of the slab and the size of
the aggregate in the mix. Any
slab thats more than 3 in. thick
should be reinforced with rebar
or galvanized threaded rod; thinner slabs can be reinforced with
hardware cloth or welded wire,
which is sold in grids of 2-in., 4-in.,
or 6-in. squares. (If you can, buy it
in flat sheets, not rolls, which tend
to spring out of the wet mix.) I use
galvanized expanded wire mesh,
which works well in a mix with
aggregates smaller than 38 in.
If the aggregate is larger than
38 in., I dont use expanded mesh;
its holes keep the mix from integrating with the reinforcement.
Instead, I recommend using largergrid hardware cloth or welded
wire. When slabs are longer than
4 ft., I use two layers of reinforcement; otherwise, one is sufficient.

A TINTED PASTE FILLS THE VOIDS

After the slab has cured, the next step is to mix a paste of portland cement,
water, coloring, and concrete bonder to the consistency of yogurt 1 . The
bonder should be added to the other ingredients at a 1-to-10 ratio; a heavier
concentration will make the finish difficult to polish. The paste is spread onto
the surface of the slab and worked into the voids with a broad putty knife 2 .
After 30 minutes, the paste can be reapplied until the voids are filled. The following day, the slab surface is wet-polished with a 220-grit diamond pad 3 .

A pressed finish combines

dry and wet mixes

2
The pressed finish is cast in two
layers. The first layer forms the
visible surface; its a fairly dry mix
thats hand-packed to create voids
that are filled later with a contrasting color. The second layer
is a wetter mix that adds more
strength to the back of the slab. I use my companys prepackaged
concrete mix. A standard gravel mix with a compressive strength of
5000 psi works, too, but I add an additional shovelful of portland
cement per concrete bag to make it more malleable. I then add the
color mixture and enough water for the desired consistency. The first
layers mix should be fairly dry, akin to bread dough. I press the concrete into the mold in small handfuls to half the depth of the mold.
I allow this layer to sit for 15 minutes while I make the next,
slightly wetter batch of cement, this time more like the consistency
of cottage cheese. I smear some of this wetter concrete into the mold
and place the reinforcing wire, then fill the rest of the mold. I always
make sure that the wire is buried in the cement and not too close
to the bottom surface, lest its shadow appear in the finish when the
slab is turned over. Once the molds are packed, I screed the top of
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the concrete with a straight length of 2x4 so that the slabs back is
smooth and uniform.
After the concrete has hardened overnight, I unscrew the molds and
flip over the pieces. Here, its important to identify and label seams
and finished edges. During finishing, mating edges should not be
sanded down because they need to fit together tightly. Exposed edges
are rounded for safety and durability.
Now the concrete must cure for a couple of days. High heat and
a lack of humidity will make the slab cure too fast and crack, so I
always keep the slabs out of direct sunlight and keep them wet with a
spray bottle. I elevate bigger slabs on 2x4 sleepers so that both sides can
cure evenly. Sometimes we just flip them: One day is upside down;
the next day, right side up. The colder it is, the longer the cure time.
When its hot, we use plastic sheeting to retain moisture.

A L AY E R E D I N S TA L L AT I O N
H I D E S T H E FA S T E N E R S
After layout lines are established on
the wall and floor, we dry-fit the hearth,
shimming if necessary to get the pieces
level and flush with the floor. (We use
the plastic U-shaped shims sold at tile
stores.) Its a good idea to space the
shims at about 6-in. intervals so that the
hearth doesnt crack under any loads.
Once were happy with the fit, we apply
construction adhesive or thinset to the
subfloor and drop in the hearth. Next, we
8-in. by 7-in. by 73-in.
walnut mantel

SOURCES OF SUPPLY
dry-fit the vertical
legs, marking and
excavating the
drywall behind each
brick tie so that the
piece above sits
flush on the wall
(photo right). After checking the fit, we
apply construction adhesive to the back
of each panel (photo below), lift them into
place, and screw them to the framing.
Wood mantel is attached with 38-in. hanger
bolts screwed to the framing and epoxied
to matching holes drilled into the wood.

The concrete, reinforcement, and other materials used to build the fireplace surround in
this article can be purchased at most home
centers or masonry-supply retailers. Below
is a partial list of Internet resources for both
information and manufacturers.
Color
Solomon Colors
www.solomoncolors.com
Davis Colors
www.daviscolors.com
Bonders, sealers, wax
Elmers
www.elmers.com
White Mountain
www.tricoat.com

11 2 in. by 10 in.
by 43 in.

1 in. by 4 in.
by 73 in.
11 2
11 2 in. by 15 in.
by 10 in.

in. by 5 in.
by 43 in.

11 2 in. by 15 in.
by 27 in.

18 in.

87 in.

Making concrete look like marble

After the concrete has cured, I clean off the slabs with a blast of compressed air and mix a batch of the filler paste that accents the main
slab. The mixture consists of white portland cement and pigment.
I also add latex concrete bonder sparingly, 1 part bonder to 10 parts
portland-cement mix. The resulting mixture should have a creamy,
yogurtlike consistency. I load a 6-in. putty knife with paste, then coat
the entire surface of each piece (not the seam edges) to fill the voids. I
let it sit for a half-hour; when cracks start to form in the paste, I apply
another skim coat and let it sit overnight.
In the morning, I use a 220-grit diamond pad to remove any burrs
and to round the finished edges. The slab is finished with a concrete
sealer that I apply with a foam brush. Two to three thin coats are
better than one thick coat. One of the tricks of applying a sealer is to
Installation photos, this page: Susan Andrews. Drawing: Dan Thornton.

Glaze N Seal
www.glaze-n-seal.com
800-486-1414
Diamond hand lap pads
3M Corp.; www.3m.com
All materials for decorative
concrete projects (except
reinforcement, abrasives,
and melamine) also can
be purchased from Buddy
Rhodes Studio (www.buddy
rhodes.com; 877706-5303).
For more info
The Portland Cement
Association
www.cement.org

buff between coats with a fine nylon scrubby pad. After a paste wax
is applied and buffed out, the surround is ready to install.
Screws add strength to the glue

For this design, the hearth is installed first; the surround pieces stack
above. If the material is 1 in. thick or less, it can be installed with
construction adhesive or thinset, as you would tile. For thicker slabs,
however, we like to integrate brick ties into the slab that we then
screw to the framing (drawing above). For larger pieces, such as
mantels that cantilever beyond the plane of the slabs, we use lag bolts
screwed into the framing and epoxied into the back of the concrete.
Buddy Rhodes lives in San Francisco. His Web site is www.buddy
rhodes.com. Photos by Charles Bickford, except where noted.
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